Performed by Ensemble Intercontemporain, conducted by Lucas Vis. June 2015.

Instrumentation: flute (doubling piccolo and bass flute), oboe, re-tuned clarinet (doubling bass clarinet), percussion (1 player), piano, viola, cello, contrabass.

two/two - I. lullaby

Live Recording of "Treppab!!" (2015)
Commissioned by the Society of Composers, Inc, and the American Society of Composers, Authors and Publishers
Premiere by Red Clay Saxophone Quartet
SCI 50th National Conference
Auditorium, University of Florida, Gainesville


Texu Kim - Treppab!!

Live Recording of 'Homage to Anonymous Ancient Fiddlers' (2015) for two violins
iN Festival
Ensemble iiiiiiiii, Ilshin Hall, South Korea

Homage to Anonymous Ancient Fiddlers

Atlas Ensemble, conducted by Artyom Kim
Muziekgebouw aan't IJ, Amsterdam.
September 7, 2014.

Full recording on "Cycles and Arrows" (New Focus, 2018)
https://www.newfocusrecordings.com/catalogue/anthony-cheung-cycles-and-arrows/

More Marginalia (2012/14), mvt. 3

Live recording from the premiere. April 24, 2016, University of Maryland. 
Spektral Quartet (Austin Wulliman, Clara Lyon, Doyle Armbrust, Russell Rolen) + Claire Chase (flutes)

The Real Book of Fake Tunes (2015), mvt 1

performed by Soma quartet
July 6th 2016
Auditorium Cittá di Maccagno, Italy

This piece is my musical response to Korean novel “장외인간” (jang-oe-in-gan) that read recently. The story of the novel starts with a world where nobody remembers a moon existed except the main character, Hunsoo Lee. Moon disappears in dawn and Hunsoo tries to find the cause for the absence of a moon and his lover, Soyo who vanished with a moon. Hunsoo encounters
the world called Mo-woel-dong that exists between Human and gods worlds. And the people in Mo-woel-dong know about that a moon once existed. From this point on, the story unfolds itself in very abstract way constantly conveying Taoist and aesthetics aspects throughout the novel.
The author intentionally makes links or transitions between scenes ambiguous and illogical, creating otherworldly feeling. This strange mood lasts long even after a few hours I put down the book as if I just woke up from dream that I cannot remember. It even affected the way I think about musical parameters and eventually influenced during my process of composition.
There are total seven main sound carpets and transitions are branching out of those phrases. Each sound carpets form bigger sound streams and triggers something to happen. The new triggered sound stream tries to make sense of the previous stream and at the same time provides a seed for a destruction. I could say the music behaves similar to a process of dream where the creator and observer coexists and constantly deconstruct images.

A dawn with vanished moon (2016) for string quartet

Bian Zhou 扁舟
Written for 1st edition Universite d'Altitute. 
Performed by Ensemble Multilaterale
Conductor: Léo Warynski
Cello: Pablo Tognan
Harp: Aurélie Saraf
Bass Clarinet: Alain Billard
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『I commented, “Do you happen to know the nature of water or the moon? Water is always on the run like this but never lost in its course; the moon always waxes and wanes but never out of its sphere. When viewed from a changing perspective, nothing in this universe can remain unchanged even within a blink of an eye, but when looked at from an unchanging viewpoint, everything conserves itself, and so do we. Therefore, what’s in them to be admired? Besides, in this universe, everything has its rightful owner. If something does not belong to you, you shall not even have a bit of it. However, the fresh breeze over this river and the bright moon above the mountains are exceptions. If you can hear it, it is a sound to you; if you can see it, it is a view. It never ends and is never exhausted. It is the infinite treasure that nature has for us to enjoy. 』 - Qian Chibifu, Su Shi

A dawn with vanished moon (2016) for string quartet

Joungbum Lee